It’s that time of the year again; Obligatory “end of year” lists. Best of this, worst of that. Most fly by my eyes in a matter of minutes with little more then an “ohhh” or “ahhh” but The Big Picture assembled some of the most amazing pictures of 2008 that caught all of our attention at the office. Not only capturing some of the most iconic moments of 2008, but also some of the almost forgotten, be sure to stop by and check out the photos here here and here. (via DesignNotes on Delicious.)

During my daily Google search for “Phone Sex” I stumbled upon something slightly unusual given my expectations.

Photographer Phillip Toledano, documented a photo essay of phone sex operators in their work environments along with their writings about their experiences. Some of them are honest and some of them are dirty.

I was recently honoured to be invited to sit on an expert panel at a CAPIC event for their Portfolio Series called Your Body of Work: Launching a Creative Vision for your Photography. The event was about how image makers such as photographers and illustrators can best promote themselves using portfolios, websites and marketing initiatives.

The panel was made up of me, Anya Lewise and Cathy Mullaly from Canada Wide, John Edmonds from Grey Vancouver, Tim Hoffpauir from DDB and Chris Peacock from Cossette—all experienced in choosing and working with photographers. We were all asked to consider some key questions which we then later discussed in an open forum, sort of townhall meeting style. The questions plus my notes and thoughts are reproduced here now:

1) Would you prefer to see a portfolio online or in a book?
Online only if it’s done well. Seeing a photographer’s book in person still has merit once the relationship has been initiated, but in person presentations are unrealistic these days. Web is really best to vet candidates once we’re aware of a photographer as we don’t hunt for them online often.

2) Are there certain formats that you would like to see from portfolios?
Any portfolio should be easy to use. Large photos so we can see details (especially ads or if special effects or retouching). While not always appreciated in advertising circles, we’re a big fan of seeing an image in context and the process behind it, so a couple carefully selected case studies that demonstrate the challenge, approach, process and results as well as the role played by the photographer or illustrator can be very useful. Describe how you overcame hurdles or accomplished shots for clients, otherwise they’re just pretty pictures and we’re not sure if you just pulled the trigger or added real value beyond that of technician.

3) What can image makers do with their books to help your decision process of selecting new talent?
This seems a little redundant and obvious after the last question, so I’ll refer back to my answer above. The bottom line really is that an image maker has to impress the heck out of us and that often happens OUTSIDE of their books. We hire people we like, get along with, know how we work and our clients, laugh at our jokes, are flexible and nail it every time. We don’t care how amazing a book is if any of these don’t work, we won’t hire them. Period.

4) How do you prefer to receive portfolios from local talent?
Again, this is a redundant and already answered above: Online first, then in in person. Bear in mind that word of mouth referrals trump portfolios every time.

5) What is your preferred follow up on a portfolio; e-mail, post or a telephone call?
We prefer email, though a really well-written letter via post can be very memorable and effective. Consider the teasing before meeting or reviewing an book. Example: Todd Blevins at Trigger in Calgary told me a story about receiving a blank manila envelope with no return address containing an 8″x10″ art print of a gorgeous shot of a n astronaut without any marketing message, website or logo. Just signed “Hi Todd. Thought of you when I shot this. Enjoy.” This was followed by another a few weeks later—again in a blank envelope. After showing the prints to all the other Art Directors at Trigger, he finally figured out whot eh shooter was and both are framed on his wall. Guess who he’s planning on calling in for his next shoot?

6) How many images do you prefer a book to have?
Like any portfolio really, we think a book should contain 10-20 of their best and most relevant work. An image maker should have dozens or even hundreds of quality examples of their work at the ready, but the ability to customize their book for us depending on what we’ve told them we need or their research on what kind of work we do. Don’t supply too many similar images that may suggest you have only one style.

7) What makes a book stand out for you?
A book that says something about you as a person, your vision and your process—beyond merely the technical proficiency of your work—always gets my attention. When those books also combine an elegant, clean aesthetic, professional tone and ease of use, you have a winner.

Obviously eye-catching images get our attention, so feel free to include some shock value (i.e. nudity, destruction or impossibility) to leave us wet, panting and wanting more.  But if anything is sloppy—i.e. crooked, poorly printed, typos, glue showing, etc—then we’ll assume your work for us will be of the same standard and the relationship will be over before it began.

Remember that many Art Directors are attention deficit and obviously LIKE ART, but avoid highly conceptual “artsy” photos that make you look like a cheeseball stuck in art school—the world really doesn’t need any more photos of cracks in walls, burned out light fixtures or elevator buttons.

8) Do you prefer to see tear sheets or a client list or do you like the work to stand on its own?
Again a little redundant, so I refer to my answer on question two above. As said previously, context is huge, so we like to see the work in situ, so if tear sheets are available, that can be effective. We’re not huge on seeing a photographer or illustrator’s work done specifically for an ad without the rest of the ad.

9) What expectations do you have from local talent in regards to their books?
Why would I want local talent to have any different books than others? A book should show thought, care, professionalism, a strategic use of graphic design, an understanding of the kind of work out there and a clear vision of the kind of work they want to pursue. Show us why we should hire you instead of the next guy, or—god forbid—buy stock photography?

Like any industry, the key is to demonstrate a differential and advantage to choosing you—but as mentioned, that is often not able to be communicated via your book. There is no secret here: hard work, persistence and professionalism pays off in the end.

10) Do innovative or non-standard portfolios catch your eye or do they waste your time?
This can go both ways. We’ve seen a clever approach captivate as easily as annoy a busy talent buyer. We’ve seen some old pros go to great lengths and expense to create very fancy, expensive portfolios which completely detract from the work within. A key is to do your homework and determine ahead of time what kind of approach will work for the person you are selling to and be flexible enough to work within their preferences. Try to balance uniqueness against practicality so the book doesn’t come off gimmicky.

Suggestion: find an elegant vessel to display your work in. Check out Shrapnel Design‘s portfolios made right here in Vancouver.

11) What kind of leave behinds do you like?
Something simple, easy to use that shows something beyond what you just showed us. And instead of bringing it with you, send a follow-up with a *well-written* thank you letter. Perhaps offer to take that first job for cheap or free if that’s what it takes to earn their trust. But create something with perceived value, like a frame-ready print, as a way to stay top of mind. Remember that 95% of all leave behinds are destined for the G file.

12) What are some of the things you’d like to see Vancouver image makers doing with their portfolios that makes it more pleasant for you to view?
In this market, being a generalist is useful, but find your passion and shoot the shit out of it until you’re able to position yourself as a specialist in that area. If you love cars, then shoot cars—lots of them. But be warned—you may need to shoot other stuff and have a separate portfolio to pay the bills.

Do your homework first and customize your approach—a generic shotgun blast is a waste of time.

Instead of buying a web template (i.e. Livebooks.com) with limited effectiveness, invest in a professional web designer and put them online in a manner that is fast, easy to sort, navigate, zoom in, etc. Can’t afford one? Swap services with a designer!

Avoid using Flash just because everyone else does (i.e. www.greggerla.com) unless you hire a pro to develop something outstanding (i.e. www.albertwatson.net)—it’s hurting your web presence and search ranking (SEO). We created a very simple Flash website solution for local photographer Sven Boecker that seems to work well for him and is easily updatable.

Remember, more so than the average consumer—inundated daily with a myriad of media, image and talent—buyers are time-strapped, attention-deficit, lovers of art. Appeal to that however you can.

Extra) What did you forget to ask me?
– Answer this question: why choose you? What makes you different? Why do you matter to ME? It’s usually a human choice, not technical or rational.
– Confidence without being an arrogant jerk is attractive. Clients want to feel in good hands.
– Synergy and compatibility often trumps a portfolio, but only for those known to be proficient shooters.
– Being involved in your professional association has numerous obvious advantages, but you won’t find work here—certainly not the work you’re looking for long term. Join the associations of related industries like advertising, marketing, design, etc and attend their events—but DO NOT bring your book and start schmoozing like a cheeseball amateur. Be confident and foster real relationships—earn their trust.
– Find a mentor: a busy photographer who learns to trust you and recommends you when they are forced to turn down work
– Ask for critiques from potential clients or photographers you respect and be willing to receive negative feedback and guidance from those more experienced than you.
- Flickr, Behance, deviantART, Computerlove, etc. are great online sites to post work, but keep professional work separate. At least keep the low res work hard to acquire without coming to you formally.
- Be a polite stalker and use a personal touch via telephone, in person, hand-written notes.
- Be passionate and shoot endlessly. This works for the self-taught, just check out Vancouver’s Kris Krüg—he’s self taught and in high demand because iof his passion and tenacity.
- Word of mouth is far more powerful than web, email and DM.
- Don’t be afraid to name drop. It works. Who else have you shot for?
- Old paradigm: “Cost. Quality. Timing. Pick two.” new paradigm: “Cost. Quality. Timing. I want all three.” Be all three.

Good luck!

Another part of relaunching a brand with as many media touchpoints as ours is all the photography required! Beyond the endless portfolio shots of work is the need for headshots of our team. Enter Sven Boecker, longtime friend, client, collaborator and photographer of choice at Industrial Brand.

Our team had heaps of fun as Sven got us to scowl, laugh, dance, undress (now there’s a visual you didn’t need) and strike all manner of poses, resulting in some really great images that captured everyone’s personality.

Thanks Sven, for making yet another photo shoot a pleasure to experience.

It’s been almost a year since the first and only time I’ve been to La Habana, Cuba and since then the country has moved even further away from the isolationist history (imposed or voluntary) of the last 50 years towards globalization with the rest of the world. One of the things that left a lasting impression on me was just how little things had changed in Cuba since 1959 compared with the rest of the world.

Peter Moruzzi, an architectural historian by trade, has published a book examining Cuban life in Havana prior to the rise of Castro. In his words…

This book explores Havana from the perspective of an American tourist visiting the city during the first half of the 20th century and, many decades later, as a 21st century visitor intent on rediscovering the city’s astonishing past.

Included in the book are a great display of “before and after” photos worthy of a look. The book also reminds me of a great trip I took a year ago and somewhere I need to go back to visit. (pics from my trip on flickr)

Fame and fortune oftentimes brings trouble for those not grounded enough to handle it. Hell, even then the most innocent and well-intentioned have fallen into the dark side. Probably tough enough for a human to stay on the straight and narrow, so it’s not all that surprising when you are already vermin. Such as when Steve the Ginger Squirrel of Bo Selecta fame gets into a little hot water in his Ferrari…

Actually, this scene is from a Flickr set called Squirrel Stories. A woman whose yard was overrun by squirrels sets them up for often hillarious scenarios and then catches them in action. Good for a Monday morning smile, but kind of making me hungry too.

Clients don’t always realize why the picture they took on their cellphone or old 3.2 MP digital camera can’t be blown up for use on a trade show booth. Even in the hands of a skilled photoshop artist the picture can only be blown up so much. But 600%? There’s a group of Photoshop actions called Re-Sizer that claims to have Photoshop actions that will allow you to resize a photo up 600%. I don’t know all the ins and outs but at $10, it’s worth a look.

I have to admit that the name Pete Turner doesn’t didn’t mean that much to me. Names like Reid Miles and Francis Wolf are rightly given a lot of recognition from their association with the Blue Note style. But what about Impulse? Atlantic? Columbia? Verve? Well Pete Turner was one of the “other” guys who helped to define a style on other record labels with his cover photography. He put out a book called the Colour Of Jazz that features his work and there’s a great interview that talks not only about his background and life, but also offers some insight as to his approach. Well worth the read!